Director Jess Chayes has done all that is humanly possible to stage a lively live production under Zoom constraints.
This is one of the best traditional big band records you’ll hear this year, or maybe this decade.
Podcast host Elizabeth Howard talks to the curator who helped conceived of the powerful exhibition “Grief and Grievance,” in which Black artists bear witness to decades of their own challenging experiences.
There’s much to enjoy here and admire, both in the performances and the selections on hand, which hardly dwell on the usual suspects or limit themselves too narrowly.
Richard Thompson’s memoir displays flashes of his writerly talents, but the volume feels a bit less immediate than one might hope.
At this point in his career, Mayr is contributing to the development of the musicodramatic conventions that would set the stage for the masterpieces of Donizetti, Bellini, and Verdi.
The Catastrophist is an opportunity to begin processing our experience with a pandemic that has fundamentally changed our lives in ways we cannot yet fully comprehend.
We want to hear the music and see the show — so sharpen your pencil and get that dough.
Two albums, from a late master and a newbie, are notable additions to the current wave of introspective solo piano excursions.
As an introduction to the progress of colonization and the horrors that white people have inflicted on BIPOC, Exterminate All the Brutes achieves its admirable mission.